Treasury of the True Dharma Eye
Page 7
Translated by Mel Weitsman and the Editor.
12. THE TIME BEING (UJI)
On the first day of the tenth month of 1240, Dogen completed this short but strikingly philosophical text. Deepening one’s meditation, one may grasp at once the unity of body and mind, practice and enlightenment, time and being, as well as that of time and self. Time, experienced simultaneously as momentary and timeless, is the essence of Dogen’s contemplation.
Colophon: “On the first day of winter [the first day, the tenth month], the first year of the Ninji Era [1240], this was written at the Kosho Horin Monastery.”
Translated by Dan Welch and the Editor.
13. POWER OF THE ROBE (KESA KUDOKU)
On the day Dogen completed “The Time Being,” he delivered this text, full of practical information about the Buddhist robe. Adorning one’s body with an authentic Buddhist robe is essential for actualizing enlightenment. Inverting secular values, he writes that an excrement-cleaning cloth (for cleaning a toilet) is the purest of all materials for making a robe. This is the first text where Dogen quotes extensively from Buddhist scriptures. He made this the third fascicle in his later twelve-fascicle version of the Treasury of the True Dharma Eye. Some parts of this fascicle are repeated in “Transmitting the Robe.”
Colophon: “This was presented to the assembly of the Kannondori Kosho Horin Monastery on the first day of winter, the first year of the Ninji Era [1240].”
Translated by Blanche Hartman and the Editor.
14. TRANSMITTING THE ROBE (DEN’E)
“Transmitting the Robe” has the same date as “Power of the Robe,” and there is much overlap between them. Possibly an original text was divided in two during the process of editing. “Transmitting the Robe” is included in the seventy-five-fascicle version.
Colophon: “This was written at the Kannondori Kosho Horin Monastery on the first day of winter, the first year of the Ninji Era [1240]. Dogen, Shramana who has transmitted dharma from Song [China].”
Translated by Jean Selkirk and the Editor.
15. MOUNTAINS AND WATERS SUTRA (SANSUIKYŌ)
Seventeen days after dating “The Time Being,” “Power of the Robe,” and “Transmitting the Robe,” Dogen presented this highly imaginative and poetic text late at night to his assembly of students.
Colophon: “Presented to the assembly at Kannondori Kosho Horin Monastery at the hour of the Rat [midnight], the eighteenth day, the tenth month, the first year of the Ninji Era [1240].”
Translated by Arnold Kotler and the Editor.
Dogen gave thirty-one formal talks between 1235 and 1240. Formal talks were short ceremonial discourses given in the dharma hall, recorded in Chinese by one of his senior students and later collected in the Extensive Record of Priest Eihei Dogen.
1241
16. BUDDHA ANCESTORS (BUSSO)
“Buddha Ancestors” marked Dogen’s tenth year of writing and compiling his monumental work. In the New Year, Dogen completed this text, which consists mostly of ancestors’ names up to that of his teacher, Rujing. These names have been recited daily by Dogen’s countless dharma descendants.
Colophon: “Written and presented at Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, Japan, on the third day, the first month, the second year of the Ninji Era [1241].”
Translated by Lewis Richmond and the Editor.
17. DOCUMENT OF HERITAGE (SHISHO)
Dogen took three months to prepare the “Document of Heritage.” He completed it at the end of spring, but, because of the secret nature of the theme, he did not deliver it to the community. Much of this piece describes his dialogues with monks, including abbots of famous monasteries in China. Demonstrating his extraordinary abilities of memorization and close observation, Dogen speaks of viewing treasured certificates of dharma transmission. He recalls being offered a document of heritage and politely declining the opportunity. He is very critical of the state of Zen in China at that time. He quotes Rujing’s words on documents of heritage but, perhaps out of modesty, does not speak of his experience of receiving authentication from Rujing. The second colophon below seems to imply that he continued to edit the text over two years after it was written.
Colophons: “On the twenty-seventh day, the third month, the second year of the Ninji Era [1241], this was written at Kannondori Kosho Horin Monastery by monk Dogen, who has transmitted dharma from China.” “On the twenty-fourth day, the ninth month, the first year of the Kangan Era [1243], I have hung my traveling stick at the grass-thatched hut in Yoshimine Village, Echizen Province. A written seal.”
Translated by Lewis Richmond and the Editor.
18. DHARMA BLOSSOMS TURN DHARMA BLOSSOMS (HOKKE TEN HOKKE)
In the spring of 1241, Monk Ekan, the main teacher of the Japan Daruma (Bodhidharma) School, joined Dogen’s community. This Zen school had been founded by Nonin a half century before. Ekan, who had earlier sent Ejo to study with Dogen, brought along many other students, including Gikai, Giin, and Gien.
Another person who joined the practice period was Etatsu, who seems to have been a newly ordained scholar of the Lotus Sutra. Possibly inspired by Etatsu’s aspiration for Zen practice, Dogen wrote this fascicle. In the exceptionally long colophon of this fascicle (quoted below), he compares the story of Huineng, the Sixth Chinese Ancestor, guiding a scholar of the sutra, to his own guidance of Etatsu.
“Dharma Blossoms” indicates the Lotus Sutra, which is referred to as the Dharma Blossoms Sutra in Chinese. It also means the blossoming of reality. In this fascicle, Dogen plays with the unfolding of this double concept.
Colophon: “This was written and given to Zen person Etatsu to celebrate his home leaving and entry into the practice of the way, during the summer practice period in the second year of the Ninji Era [1241]. Shaving the head is a good thing. To shave the head over and over again makes a true home leaver. Today’s home leaving is the natural fruit of the natural power of the dharma blossoms turning in the past. The dharma blossoms of this moment will certainly bear fruit as dharma blossoms in the future. They are not Shakyamuni’s dharma blossoms, nor all buddhas’ dharma blossoms, but the dharma blossoms’ dharma blossoms. Every day the turning of the dharma blossoms is as it is, beyond perception, beyond knowledge. Dharma blossoms emerge at this moment, beyond knowing, beyond understanding. Past moments are your breathing in and breathing out. Present moments are your breathing in and breathing out. Treasure these moments as dharma blossoms, wondrous and inconceivable. Monk Dogen, who has transmitted dharma from China, founder of the Kannondori Kosho Horin Monastery.”
Translated by Michael Wenger and the Editor.
19. UNGRASPABLE MIND (SHIN FUKATOKU)
After his story of a Lotus Sutra scholar giving up his extensive studies and directly experiencing the meaning of the sutra in the previous fascicle, Dogen here presents the story of a scholar of the Diamond Sutra.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery, Uji County, Yamashiro Province, in the summer practice period, the second year of the Ninji Era [1241].”
Translated by Michael Wenger and the Editor.
20. UNGRASPABLE MIND, LATER VERSION (GO SHIN FUKATOKU)
It seems that after delivering an earlier version of “Ungraspable Mind” to the community, Dogen further edited and expanded the text. This later version was only “written,” rather than “presented,” during the same practice period.
Dogen included the earlier version in the seventy-five-fascicle version, but not the later version. Kozen included both versions in his Eihei-ji edition.
Colophon: “Written at the Kosho Horin Monastery on a day of summer practice period, the second year of the Ninji Era [1241].”
Translated by Michael Wenger and the Editor.
21. OLD MIRROR (KOKYŌ)
After the end of the practice period, many of the mature Zen students stayed on. This winter Dogen’s creative energy burst forth; he wrote six fascicles of the Treasury o
f the True Dharma Eye, beginning with “Old Mirror.”
The mirror in ancient China was a disk made of bronze, which needed polishing at times. Reflecting all things, it is a mysterious analogy for awakened mind, like the full moon, an eyeball, or a pearl. Dogen takes up a number of Zen stories, as well as Chinese and Japanese secular stories, on mirror disks, and comments on them with vigor.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the ninth day, the ninth month, the second year of the Ninji Era [1241].”
Translated by Lewis Richmond and the Editor.
22. READING A SUTRA (KANKIN)
Six days after delivering “Old Mirror,” Dogen offered this text to the assembly on the first full-moon day of winter. Contrary to the general Chinese Zen adage of “transmission outside the scripture,” Dogen emphasizes the invariable value of Buddhist scriptures. He quotes and comments on several Zen stories about scriptures and explains the rites of reading scriptures in a monastery, revealing his extraordinary capacity to observe and describe liturgy in detail.
Colophon: “Presented to the assembly of the Kosho Horin Monastery, Uji County, Yamashiro Province, on the fifteenth day, the ninth month in autumn, the second year of the Ninji Era [1241].”
Translated by John Daido Loori and the Editor.
23. BUDDHA NATURE (BUSSHŌ)
About a month after presenting “Reading a Sutra,” Dogen delivered this long and highly theoretical text. He examines and comments on a number of ancient Zen masters’ statements on the dilemma of the universality and inconceivability of enlightenment. He exerts himself to uncover the logic in seemingly illogical words on the subject found throughout the Zen tradition.
Dogen later placed this text third in the seventy-five-fascicle version of the Treasury of the True Dharma Eye, following “Actualizing the Fundamental Point” and “Manifestation of Great Prajna.”
Colophon: “Presented to the assembly of the Kosho Horin Monastery, Uji County, Yamashiro Province, on the fourteenth day, the tenth month, the second year of the Ninji Era [1241].”
Translated by Mel Weitsman and the Editor.
24. AWESOME PRESENCE OF ACTIVE BUDDHAS (GYŌBUTSU IIGI)
Contemplating the expression of buddhahood in “Buddha Nature,” Dogen must have been thinking about the aspect of action or practice of buddhas. Practice is what makes a person a buddha. “Awesome Presence of Active Buddhas” was completed about the same time as “Buddha Nature” but was not presented to the community.
Colophon: “Written in the middle of the tenth month, the second year of the Ninji Era [1241], at the Kannondori Horin Monastery by Monk Dogen.”
Translated by Taigen Dan Leighton and the Editor.
25. THE BUDDHAS’ TEACHING (BUKKYŌ)
Dogen’s students who had studied with other Zen masters must have been familiar with the Zen expression “transmission outside the scriptures.” Dogen asserts that it is a mistaken notion and explains the Buddhas’ expressions by laying out categories of scriptures in the Buddhist canon. The tone of his criticism has sharpened by now.
Colophons: “Presented to the assembly of the Kosho Monastery, Yamashiro Province, on the fourteenth day, the eleventh month, the second year of the Ninji Era [1241].” Presented again “On the seventh day, the eleventh month, the third year of the Ninji Era [1242].”
Translated by Peter Levitt and the Editor.
26. MIRACLES (JINZŪ)
Two days after delivering “The Buddhas’ Teaching,” Dogen read “Miracles” to the residents of his monastery. For Dogen, the everyday practice of dharma is a series of miracles, while being free from desires is a miracle. Further, going beyond miracles is the ultimate miracle.
Colophon: “Presented to the assembly of the Kannondori Kosho Horin Monastery on the sixteenth day, the eleventh month, the second year of the Ninji Era [1241].”
Translated by Katherine Thanas and the Editor.
Dogen gave fifty-eight formal talks in 1241.
1242
27. GREAT ENLIGHTENMENT (DAIGO)
“Great Enlightenment” is the first of seventeen fascicles Dogen wrote this year—the most prolific period of his writing career. He revised and presented this text a second time in Echizen Province exactly one year later.
Dogen calls the experience of going beyond the separation of enlightenment and delusion “great enlightenment.” In this teaching, enlightenment is not exclusive of delusion. Thus, for him, “great delusion” is not exclusive of enlightenment.
Colophons: “Abiding at the Kannondori Kosho Horin Monastery, I present this to the assembly on the twenty-eighth day, the first month, the third year of the Ninji Era [1242].” “Staying at the ancient Yoshimine Temple, I revise and present this to the assembly of humans and devas on the twenty-eighth day, the first month, the second year of the Kangen Era [1243].”
Translated by Blanche Hartman and the Editor.
28. THE POINT OF ZAZEN (ZAZEN SHIN)
In “The Point of Zazen,” Dogen speaks of the mind of meditation, commenting on two classical stories on the meaning of zazen. He offers sharp criticism of several Chinese writings that were supposed to express the rules and approach of zazen. Then, with great reverence, line by line, he interprets “The Point of Zazen,” a verse pointing to the heart of meditation, by Hongzhi Zhengjue. Hongzhi had been a prominent master of the Caodong School in the twelfth century—the lineage Dogen inherited. Hongzhi advocated “silent illumination Zen.” Dogen adapted the verse, changing several words and making a stunning improvement. He brought his manuscript to Echizen Province and presented it to his community there a year and a half later.
Colophons: “Written at the Kosho Horin Monastery on the eighteenth day, the third month, the third year of the Ninji Era [1242].” “Presented to the assembly at the Yoshimine Temple, Yoshida County, Echizen Province, in the eleventh month of the fourth year of the Ninji Era [1243].”
Translated by Michael Wenger and the Editor; Dogen’s poem translated by Philip Whalen and the Editor.
29. GOING BEYOND BUDDHA (BUKKŌJŌ JI)
Five days after completing “The Point of Zazen,” Dogen shared “Going Beyond Buddha” with his monastic community. In this fascicle, he describes the dynamic state of being a buddha by saying, “You reach buddha, and going further, you continue to see buddha.”
Colophon: “Presented to the assembly at the Kannondori Kosho Horin Monastery on the twenty-third day, the third month, the third year of the Ninji Era [1242].”
Translated by Mel Weitsman and the Editor.
30. THUSNESS (IMMO)
There was only three days’ difference between the delivery of the preceding fascicle, “Going Beyond Buddha,” and that of “Thusness.” The title, “Immo,” is the Japanese translation of the Chinese colloquial word renmo. Meaning “in this way,” “like this,” “like that,” “this,” or “that,” this word is a key term in Zen dialogues. Dogen shows some usages of the word and attempts to decode it with his own style of transcendental language.
Colophon: “Presented to the assembly of Kannondori Kosho Horin Monastery on the twenty-sixth day, the third month, the third year of the Ninji Era (1242).”
Translated by Mel Weitsman and the Editor.
In the spring of 1242, Dogen wrote an afterword to the Recorded Sayings of Priest Rujing, Sequel. (Rujing had passed away in 1228, one year after Dogen’s departure from the Tiantong Monastery. A two-fascicle book titled the Recorded Sayings of Priest Rujing was compiled by Wensu and others, and was published in 1229. This sequel was edited by Yuan, who may have asked Dogen to write this afterword because of the high regard in which Rujing’s students held him. The completed book was to be delivered in fall of the same year.)
31A. CONTINUOUS PRACTICE, PART ONE (GYŌJI, JŌ)
31B. CONTINUOUS PRACTICE, PART TWO (GYŌJI, GE)
Seven days after the delivery of “Thusness,” Dogen completed an exceptionally long text. It is noteworthy that Dogen first intr
oduces his concept of the “circle of the way” at the beginning of this text.
This text is traditionally divided into two parts and bound into two volumes. In Part One, stories of three Indian ancestors are arranged in chronological order, followed by stories of nineteen Chinese teachers that seem to be thematically arranged. In Part Two, stories of eleven Chinese teachers from Bodhidharma to Rujing are presented, not necessarily in chronological order. Dogen merged these into one fascicle in the seventy-five-fascicle version of the Treasury of the True Dharma Eye.
Colophon (31a): “Editing completed on the eighteenth day, the first year of the Ninji Era [1243]. [Dogen]”
Colophon (31b): “Written at the Kannondori Kosho Horin Monastery on the fifth day, the fourth month, the third year of the Ninji Era [1242].”